Walter Metz
Ph.D., University of Texas at Austin, 1996
Associate Professor; History, Theory, and Criticism of Film and Theatre

224 VCB
Tel: 994-6403
metz@montana.edu

Personal Website: http://www.montana.edu/metz/

"Raumschiff Video Clip " and Raumschiff documentation

"Forgotten Video Clip " and Forgotten documentation

Syllabi For My Classes:

Past Courses

• MTA 218 ("International Film and Television"): Summer 2005
• MTA 101 ("Film in America"): Summer 2005
• MTA 400 Seminar ("Experimental Cinema: Theory and Practice"): Spring 2005
• MTA 506 ("Criticism and Theory: Critical Theory and Science Studies"): Spring 2005
• MTA 104 ("Understanding Theatre"): Fall 2004
• MTA 280 ("Movies and Politics: Whiteness and Masculinity"): Spring 2003
• MTA 378 ("Comparative Critical Approaches to Film and Theatre"): Fall 2004
• MTA 400 Seminar ("The History of Television"): Spring 2001
• MTA 400 Seminar ("Genre: Melodrama/Western"): Spring 2000
• MTA 400 Seminar ("Adaptation to Film"): Spring 1999
• HUM 201 ("Introduction to Feminist Theories and Methodologies"): Fall 2004
• HUM 301 ("Women, Film, and Feminism"):  Spring 2000

Academic Journals Edited:
Film Criticism: Special Issue on “French Cinema of the 1990s,” Vol. 27.1 [Fall 2002].

Creative Work
Dramaturg. The Glass Menagerie. Dir. Tom Watson. Department of Media and Theatre Arts. April 10-19, 2003.

Book Chapters:

• "Consuming The Graduate: A Postfeminist Analysis of Mother, Laurel Canyon, and Moonlight Mile." Engaging Film Criticism: Film History and Contemporary American Cinema. New York: Peter Lang, 2004.
• "Breaking the Cycle: Die Another Day, Postcolonialism, and the James Bond Film Series." Engaging Film Criticism: Film History and Contemporary American Cinema. New York: Peter Lang, 2004.
• "John Waters Goes to Hollywood: A Poststructural Authorship Study." Authorship and Film. Eds. David A. Gerstner and Janet Staiger. New York and London: Routledge, 2003.
• "What Went Wrong?: The American Avant-Garde Cinema of the 1960s." The Sixties. Ed. Paul Monaco. The History of American Cinema Series. New York: Scribners and Sons, 2000. 231-260.

• "The Cold War's 'undigested apple dumpling': Imaging Moby-Dick in 1956 and 2001." Literature/Film Quarterly. 32.3 [July 2004]. 222-228.
• "Have You Written a Ford, Lately?: Gender, Genre, and the Film Adaptations of Dorothy Johnson's Western Literature." Literature/Film Quarterly. 31.3 [Summer 2003]. 209-221.
• "Zola(r) Energy: On the Film Adaptations of Emile Zola's La Bete humaine." Interdisciplinary Humanities. 19.1-2 [2002]. 87-105.
• "From Jean-Paul Belmondo to Stan Brakhage: Romanticism and Intertextuality in Irma Vep and Les Miserables." Film Criticism. 27.1 [Fall 2002]. 66-83.
• "A Very Notorious Ranch Indeed: Fritz Lang, Allegory, and the Holocaust." Journal of Contemporary Thought.  13 [Summer 2001]. 71-86.
• "Signifying Nothing?: Martin Ritt’s The Sound and the Fury (1959) as Deconstructive Adaptation." Literature/Film Quarterly. 72.1 [1999]. 21-31.
• "Genre Theory and The Shining." Film Criticism. 22.1 [Fall 1997]. 38-61.
• " 'Another being we have created called us' : Point-of-view, Melancholia, and the Joking Unconscious in The Bridges of Madison County." The Velvet Light Trap. 39. [Spring 1997]. 66-83.
• "‘Keep the Coffee Hot, Hugo’: Nuclear Trauma in Fritz Lang’s The Big Heat (1953)." Film Criticism. 21.3 [Spring 1997]. 43-65.
• "Pomp(ous) Sirk-umstance: Intertextuality, Adaptation, and All That Heaven Allows." Journal of Film and Video. 45.4 [Winter 1993]. 3-21.